Etienne Zack
Partition

Etienne Zack
Partition

The works in Partition consider the physicality of language and use that to demonstrate how text and written information can be made into architectural or sculptural bodies. By combining various materials and histories, Zack’s paintings raise very pertinent questions about written histories, enlightenment, censorship, erasure, authorship, data storage, control, and collective knowledge.

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Some Drawings
A Group Exhibition

Takao Tanabe
A Major Exhibition

Takao Tanabe
A Major Exhibition

Takao Tanabe has been a leading figure in Canadian art for over sixty years. Born in 1926 in Seal Cove, British Columbia, Tanabe was interned by the Canadian Government with his family and many other Japanese-Canadians during World War II. The end of the war took the artist further east, to the Winnipeg School of Art, graduating in 1949. He pursued further artistic studies in New York under Hans Hoffman, London, and Japan, where he learned Japanese ink painting (sumi-e) and calligraphy.

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Ben Reeves
Something Edge

Ben Reeves
Something Edge

Equinox Gallery is pleased to present Something Edge, a new body of work by Ben Reeves. Ben Reeves’ artistic practice is a way of exploring and learning about the world as well as a material and intellectual pursuit that unfurls not only new understandings about perception but an equal amount of uncertainty, which in turn fuels further curiosity. Ruminating on his current series of works, Reeves explains: “These paintings are views from one space, looking into another. I equate this with how experiences are always made up of multiple realities, multiple spaces. For example, the present is always haunted by the past. When I think back to my childhood, growing up here on the West Coast, I realize that it was both the place I thought it was and it wasn’t. I didn’t know that the place I grew up in both was and wasn’t itself.” How, then, does an artist begin to address the layered histories embedded in the land?

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Angela Teng
A Coloured Image of the Sun

Angela Teng
A Coloured Image of the Sun

A Coloured Image of the Sun is Angela Teng’s third solo exhibition with the gallery. Since graduating from Emily Carr University of Art + Design in 2011, Teng has delved into the nature of paint as a medium, challenged its typical support – the canvas – and scrutinized the character of gesture. Using several distinct methods, Teng typically produces intimately scaled works with a handmade sensibility that brush against the status of the large canvases of twentieth-century (mostly male) abstract expressionists.

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Neil Wedman
Spotlights

Neil Wedman
Spotlights

Spotlights is the culmination of work done over the summer of 2016 and the summer of 2017. Consistency is key in this series of ten: each piece is vertically oriented and measures 78 inches by 60 inches, with each composition seemingly a copy of the previous. The works are made through a process of extraction and dilution of the paint. Acrylic paint is mixed to a completely liquid consistency and poured down the surface of the canvas, causing the paint to behave in an atypical way where the individual components making up each colour separate from one another, creating subtle auras and stains as well as accidental blemishes and unanticipated inconsistencies.

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Gordon Smith
Through the Trees

Gordon Smith
Through the Trees

Equinox Gallery is pleased to present Gordon Smith: Through the Trees – an exhibition of new paintings and collaged works on canvas. This exhibition takes Gordon Smith’s imaginative and complex perspective of the forest as both subject and object where the landscape can be pulled apart and reconstructed as an idea. For 24 consecutive years, the opening of Gordon Smith’s show in September has come to denote the beginning of the cultural season in Vancouver, and this exhibition reflects Smith’s continued commitment to his artistic practice.

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Adad Hannah
New Arrangements

Erin McSavaney
Counterpoint

Marie Khouri
Bronze

Marie Khouri
Bronze

Marie Khouri’s exquisite new sculptures belie their dark underpinnings. The Vancouver-based artist speaks of making them in response to a recent visit to Beirut where it was impossible not to reflect on her experiences as a young woman in the 1970s fleeing the country’s civil war. She describes the Lebanese capital’s war-ravaged buildings as “wounded” and “scarred”- evoking the body in all its vulnerability in the face of war – even while she expresses admiration for the enduring city’s newly erected structures as signs of humanity’s capacity for renewal and the cyclical nature of existence.

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